Creating Communitas: The Art Collection of St Hilda's College

The University of Melbourne 2024

Creating Communitas

The Art Collection of St Hilda’s College

About the Author:

Pascalle Bailey multidisciplinary artist and writer based in Melbourne. A graduate of Master of Curatorship at the University of Melbourne, Pascalle has primarily worked in collections housed in close-knit communities, often related to fields of education. Pascalle spent 10 months cataloguing the St Hilda's collection through careful analysis of records, letters and meeting minutes, as well as the works themselves. The final result of this is Creating Communitas, published in 2024 in celebration of the College's 60th anniversary.

Contents Preface

1

Paintings

2

Portraits

14

Objects

22

Chapel

30

Created for Communitas Indigenous

Special Thanks

36 44

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Preface

William Kerr-Morgan Born Craghead, England, 1896; died Melbourne, 1967.

St Hilda's Crest, 1967 Print on paper

Many academic collections begin under the premise of serving as a visual signifier of the institutions that house them, showcasing their virtues of culture, morality and prosperity. St Hilda’s was not one such institution. St Hilda’s was borne through a long-running, hard-fought campaign, spearheaded by a select few, very determined women. It was then through these women that the very first items of the collection emerged. The purpose here was very simple; they wanted to create a space that felt like home, a place where young women could take refuge as they embark on their journey through tertiary education. We have very little record of who donated these early works simply because they felt there was no great significance in what they were doing; their actions were second nature. This instinct for home-building formed the foundation of Communitas, and as a result the collection grew.

Subconsciously, the works entering the collection reflected the values of the college, presenting works made by underrepresented artists, women, and indigenous creatives, often donated by those within the Hilda’s community. Recognizing the importance of Indigenous Australians within the wider history of the College and the land it resides on has become a significant priority to the St Hilda’s community, which has been reflected in the College’s recent acquisitions.

More recent additions to the collection have included commissions by the students themselves, that provide a more personal reflection of the College by those that live within its walls.

The first visual signifier of the college came in the design of the St Hilda’s crest. In many ways, this work is the first in the Art Collection of the College. The crest of St Hilda’s was borne through careful negotiation, with discussions beginning some time before builders broke ground in Parkville. The final design was accepted in 1967. The crest, much like the College’s name, sought to express a sense of unification and neutrality, in acknowledgement of the two churches at the College’s foundation. The phrase “Communitas” is emblazoned at the base of the crest, demonstrating its presence as the bedrock of St Hilda’s.

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C r e at i n g c o m m u n i ta s

Paintings

William “Rubery” Bennett

St Hilda’s College

B

ennett admittedly holds less reverence in the Australian art world

consciousness of today than his Australian School contemporaries like Roberts and Streeton. During the artist’s life, Bennett gained renown for his ‘sensitive’ depictions of the Australian landscape, with three of his works being purchased by Queen Elizabeth II during her royal visit to the country in 1954.

The subject of Burragorang holds great significance to the artist. Bennett first visited the site in 1924 for a painting camp headed by Bennett’s longtime friend and mentor John Salvana.

Bennett then visited the Lower Burragorang ten years later with his wife, with this location becoming his preferred destination for painting for many years.

This affinity with the lower Burragorang later became a fleeting one, as the valley was decided to be the catchment site of the Warragamba Dam, which now serves as the primary water source for the Sydney region. The creation of the Dam inundated the Burragorang Valley, forcing out both the Gundungurra traditional owners of the region and residents of the small farming communities that populated the area, despite their fervent resistance to the loss of their home.

Bennett’s series of works that seek to faithfully document the area retrospectively serve as both blank and memorial to a region and community that was sacrificed to serve the needs of the urban constituents of New South Wales. This particular work depicting the beginnings of a storm emerging upon its environment deepen this sense of prophetic demise.

This work was held in the private collection of Una Porter prior to its arrival at St Hilda’s. The work was gifted to her by St Hilda’s councillor Alice Paton, with the agreement that the work would eventually be housed in the college after Porter no longer had use of it.

Born Clayfield, Brisbane, January 1893; died Sydney, 10 March 1987.

Storm Clouds Burragorang, c. 1940 Oil on canvas Signed lower centre: “Rubery Bennett” Provenance: Presented to the College by Una Porter in 1998.

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C r e at i n g c o m m u n i ta s

Kenneth Jack

William Kerr-Morgan

Born Malvern, Melbourne, 5 October 1924; died Melbourne, 10 June 2006

Born Craghead, England, 1896; died Melbourne, 1967.

St Hilda’s College 1964, 1964

Moon Serenade, c. 1960 Signed lower right: "W. Kerr-Morgan"

Watercolour on paper Signed lower left: “Kenneth Jack 1964” Provenance: Presented to Alice Paton by Council of St Hilda’s College in 1964, donated back to the Council upon Paton’s death.

A prolific painter throughout his life, Kenneth Jack is most known for his depictions of outback towns and landscapes. Thanks to Jack’s significant output, we have been given a faithful depiction of the evolving face of Melbourne and its surrounds, serving as an important historical record for future generations. Jack was honoured with an AM in 1987 and his work has been collected by Queen Elizabeth II, the National Gallery of Victoria among countless other institutions around the world. This work was commissioned by the College council during the height of Jack’s career as a gift to the founding force of St Hilda's Alice Paton, in commemoration of the College’s opening.

The work was returned to the College following her passing.

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St Hilda’s College

Oil on canvas Provenance: Presented to the College by the artist.

Kerr Morgan worked primarily as a stained-glass artist, creating works for Trinity College, and churches in Gardenvale and Balaclava whilst under the employ of firm Brooks Robsinson as their principal artist. Kerr-Morgan entered St Hilda’s history as the designer of the College Crest, and held an exhibition of works at the college in 1966, which is the suspected origin of this work.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Harold B. Herbert Sally Dalton-Brown Born South Africa.

Redland II, 2015 Oil on canvas Provenance: Presented to the College by Brenda Holt in 2022.

An artist by passion, Dalton-Brown is most known for her academic work, and previously held the title of Dean at Queens College Melbourne. During her tenure at Queen’s, Dalton Brown held an exhibition titled Picasso’s Dust. It was at this viewing that St Hilda’s Principal purchased this work.

Redland II was previously housed in the Principal’s residence as part of Holt’s personal collection.

Upon her retirement in 2022, Holt gifted the work to the college.

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Born Ballarat, Victoria, 16 September 1891; died Melbourne, 11 February 1945.

Autumn Afternoon, 1929 Watercolour on paper Signed lower left: “Harold B. Herbert 1929”.

Provenance: Thought to have entered the collection in the 1960s.

A student of the Australian Impressionist movement and a skilled watercolourist, Herbert was a traditionalist at heart, preferring naturalism and working in plein-air. Herbert was equally well-regarded in both his skill as an artist and local personality, and regularly exhibited alongside the likes of Arthur Streeton and John Longstaff. Herbert’s sketches and finishes watercolours are currently in the collections of the National Gallery of Victoria and Australian National Gallery and the Ian Potter Museum of Art. Herbert’s depiction of a homestead is typical of his style, demonstrating rich warm colours and dappled contrasts echoing the transitional season upon a familiar Australian neighbourhood.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

H

ayes is known for creating ‘large-scale allegorical paintings’,

often with religious subject matter as part of a wider exploration of Australian identity. This work is typical of the artist’s oeuvre, depicting the narratively biblical foundations of the dictionary in a tongue-in-cheek manner.

This piece was donated by Robyn Bradbury in 2023. Robyn was a founding student of the college in 1964 and gifted the painting to celebrate the 60th anniversary of the opening of St Hilda’s. Robyn offers the following reflection:

Cameron Hayes Born Sydney, 1969.

Angry angels help Adam with the first dictionary, 2020 Oil on canvas Provenance: Presented to the College by Robyn Bradbury in 2022.

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“I came to the college just after it opened, when Mrs Smart was the Principal. She was a warm and gracious person, who had worldly experience and a deep commitment to student and world wellbeing.

This painting is a way of expressing my gratitude to the college for a formative experience in my life.

The symbolism of the painting, for me, is that learning to speak from the self is integral to the formation of identity. The ‘words,’ to speak, come from the formation of our identity. It is this identity that enables us to mature through the lifespan and become enabled to function to be part of a community. To be an individual within a group is a most difficult accomplishment for human beings. We are primarily social animals, and to be separate from the herd is challenging.

This painting demonstrates this movement through time. To find one’s path in life is therefore a balance between being an individual and being part of a group. Being part of a secure community may create a foundation for the safety to express individuality, and this is what life in college may provide. It did for me.

To serve a larger community, and to express one’s individuality is a lifelong program which involves language, communication, ethics, and a capacity to find a way through action to express oneself as a whole being, part of but separate from the group: this is our uniqueness as a human being.

This painting by Cameron Hayes describes the importance of finding the language of the self. I donated it as a way of expressing my belief in the broader bases of education as being to combine values and finding the language of oneself, as well as academic achievement.

I believe the values of serving the community were nurtured by my experience in college, and I hope that this painting inspires others in their path for creating and valuing a personal identity and value system, as well as pursuing academic excellence.”

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C r e at i n g c o m m u n i ta s

Jenny Vawdrey Based in Melbourne Untitled (D), c. 2001 Pastel on board Provenance: Acquired by the College on the recommendation of Barbara Green, Principal, in 2002 from Arts Project Australia.

This work was purchased from Arts Project Australia, an enterprise based in Melbourne that seeks to support and empower artists with intellectual disabilities through studio support and creative enrichment programs.

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St Hilda’s College

Bernard Hesling Born Wales, 1905; died Adelaide, 13 June 1987.

Cock Robin, 1968 Vitreous enamel on steel Provenance: Thought to have entered the collection in the 1970s.

Hesling began his creative life in the theatre in London. Following his immigration to Australia in 1928, Hesling worked as a designer, writer, and cartoonist before turning to mural work.

Outside of his career as a maker, Hesling had a brief stint as an art critic. Described as an eccentric and jovial cynic, Hesling is also remembered for his rivalry with fellow critic Robert Hughes following Hesling’s ousting from the Observer. His work with vitreous enamel, like Cock Robin, became his specialty when he pursued the medium in 1958. These often bold, lively works of abstraction earned Hesling national recognition, and is regarded as the Australian pioneer in the medium.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

A

s a founding member of the Tasmanian Group of Painters, Holmes’

commitment and advocacy for Tasmanian art and its environment distinguishes her from her contemporaries. Her chosen isolation amongst the Tasmanian mountains berthed a distinctive employ of colour and textured painterly strokes in an altogether ‘new’ flavour of modern art that was entirely her own. While some has regarded her as an eccentric due to her colour outfit and penchant for unique hats, Holmes preferred to call herself an ‘original’. Holmes specialised in still life and portraiture, and often secluded herself to an artist shack by the Carlton River, as seen in this work.

This location, often featuring nearby Mount Direction, became a favourite of Holmes over her artistic life. Despite her isolation Holmes exhibited regularly, often travelling to do so, but always returning to her childhood home in Moonah, where she remained until her death in 1973.

Credited by her friends as a woman of wit and great sense of humour, Holmes was a very active member of society and strived for contentment in life as Hobart poet Viviant Smith recalls of the artist in her following verses: I heard your living voice last night, Your voice that mixed so many styles and tones, An interview recorded before death You who detested wirelesses and phones.

Edith Holmes Born Hamilton, Tasmania, 9 March 1893; died Hobart, 26 August 1973.

Untitled, date unknown Oil on canvas Signed lower right: “Edith Holmes” Provenance: Though to have entered the collection in the 1960s.

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“I’ve had small recognition but enough,” You said: “I live for colour and this place.

See that lichen’s shawel spread on a rock.

For me the mountain has a human face, The hills an outline that is partly mine…”

Your curtain with a window shows a life But what your epoch struggled for is found In breakfast room with mountain, bread and knife.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Portraits “Few young women will go in and out of a College over which Marjorie Smart presides without having their horizons widened.”

— Davis McCaughey

B

orn in Winnipeg, Canada, Marjorie emigrated to Melbourne in 1954

W. John Peisley

Peter Zageris

Born Bathurst, New South Wales, 1916; died 1997.

Born Germany, 1947; arrived Australia 1950.

Marjorie Gordon Smart AM, 1954 Oil on canvas Signed lower left: “Peisley NY 1954”

Marjorie Gordon Smart AM, 1974 Oil on canvas

Provenance: Presented to the College by Elizabeth Jess-Paterson in 2004.

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following her husband’s retirement. During this time Smart pursued her passion for education and community service through voluntary work at the University of Melbourne. As St Hilda’s inaugural Principal, Smart set the standard for Communitas, in creating a home away from home for Hilda’s first students, and often going beyond her official duties to do so. Her tenure also saw the beginnings of coeducation in 1973 and the construction of the Alice Paton Library, two residential blocks and the Una Porter Chapel block.

Born in Bathurst, artist W John Peisley migrated to New York in 1945.

Peisley supported himself as a commercial portrait artist during this time, and this first portrait of Smart is a likely example of this work.

The second portrait was commissioned by the College in commemoration of the 10th anniversary of St Hilda’s establishment. Smart retired the following year, after having served 12 years at the college and firmly established the tone of St Hilda’s that helped “put St Hilda’s on the map”.

Provenance: Commissioned by the College council in 1974 in commemoration of the 10th anniversary of St Hilda’s, and unveiled by Sir Robert Menzies.

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C r e at i n g c o m m u n i ta s

Marjorie Blair Active 1980s Una B Porter, c. 1980 Oil on canvas Signed lower right: “Marjorie Blair” Provenance: Presented to the College by Desda Browne in 1983.

Born Una Beatrice Cato, Porter’s early life was marred by illness and she pursued tertiary education later in life. Her difficulties pursuing medical education as a woman led to Porter’s affiliation with Alice Paton and enthusiasm for the establishment of St Hilda’s Council, where she served as a founding council member from 1961 to 1975.

As a notably religious woman and generous philanthropist, Porter was a foremost advocate for the construction of a chapel at St Hilda’s College, donating $24,000 to the effort. The chapel was named the Una Porter Chapel in recognition of her gift.

Her portrait, donated to the College by longtime companion Desda Browne, hangs in the Auditorium today, in memory of the room’s former life as the Chapel.

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St Hilda’s College

Dinny Birrell Dr Brian James, c. 1997 Oil on canvas Provenance: Commissioned by the College c. 1997

Prior to his stewardship as St Hildas’ third principal, Brian James worked as a counsellor for the University of Melbourne. Known affectionately as “Doc” in recognition of his theological education and background, Dr James sought to continue in Smart’s legacy of dedicated service to students, instilling a values-based residential education at the College. His portrait presents Dr James in his religious garb, presenting his reverence for the faith-based practice he embedded into the fabric of the college.

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C r e at i n g c o m m u n i ta s

Gillian Dunlop

Gillian Dunlop

Active 2003 —

Active 2003 —

Barbara Green AM, 2011

Dr Brenda Holt, 2022

Oil on canvas Signed lower right: “Dunlop” Provenance: Commissioned by the College in 2011.

Barbara Green’s life at St Hilda’s began as a student, living at the college in 1975. She later joined the council before becoming St Hilda’s 5th principal, serving for 18 years. Green’s professional life has been characterised by her service to student life and education. This service was later recognized in 2020 when Green was appointed as a Member of the Order of Australia (AM) as part of the Queen’s Birthday Honours.

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St Hilda’s College

Oil on canvas Signed lower right: “Dunlop 22” Provenance: Commissioned by the College in 2022.

Following an established career in enriching student life at colleges in Australia and internationally, Holt’s tenure at St Hilda’s oversaw a period of great challenge and perseverance. Holt sought to uplift the College’s credo of Communitas throughout the changing landscape of student accommodation and social upheaval brought about by the arrival of COVID-19 and the subsequent lockdowns that followed. Holt’s unwavering attitude and commitment to the College community kept enrolments high and reinvigorated student engagement with St Hilda’s. Holt also oversaw the evolution of the social wellness of St Hilda’s with the reworking of student conduct policies and programs that advocated and supported LGBTQ+ life on campus.

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C r e at i n g c o m m u n i ta s

Edward Kenneth Smart, DSO Born Kew, Victoria, 23 May 1891; died Heidelberg, Melbourne, 2 May 1961.

St Hilda’s College

Marjorie Smart and Prime Minister Menzies at the Official Opening of St Hilda's College, 11 April 1964.

Menzies had been gifted a bunch of thistles by resident student Lomela Kruytbosch.

Marjorie Gordon Smart AM, c. 1958 Oil on canvas Written on verso: “Marjorie Smart approx.

1958-69 Most likely at “BanFF” St Kilda Melbourne Painted by Lt Gen. Edward Kenneth Smart” Provenance: Presented to the College by Elizabeth Jess-Paterson in 2004.

This creation by Smart’s husband Kenneth was donated to the college by his grand-daughter Elizabeth Jess-Paterson, alongside the Peisley portrait.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Objects

Stone From Whitby Abbey Founded c. 657 AD. Provenance: Presented to the College by Professor Harold Woodruff in commemoration of St Hilda’s opening.

This stone comes from the ruins of the original Streaneshalch (now Whitby) Abbey, where Hilda of Whitby served as the founding abbess. As a monastery, Whitby housed monks and nuns alike, and became a significant religious site for the education of men and women. The abbey also holds religious significance as the site of the Synod of Whitby, a meeting to set the date for Easter.

Leonard Morel-Ladeuil, reproduction by Elkington & Co. Born Clermont-Ferrand, France, 1820; died Buulogne, 15 March 1888.

Active 1830 - 1963 Bunyan Shield, 1913 Oxide and gilt electrotype in Elkington Plate Presented to the College by Lady Rivett in 1970s

The design on this shield depicts the journey of Christian pilgrims as told in John Bunyan’s 1678 work The Pilgrim’s Progress. This shield, crafted by Elkington and Co, is an electrotype (reproduction) of Leonard Morel-Ladeuil’s original, which was presented at the Paris Exhibition of 1878 to great acclaim. Similar electrotypes have been collected by noted institutions such as the Victoria and Albert Museum, and were highly sought after following the Paris Exhibition.

The shield was donated by Lady Stella Rivett (formerly Deakin), a friend of the College in its early years. Following her death, Lady Rivett donated this shield, its papers and a sum of $1000, which began the Lady Rivett Bequest for purchasing books for the College library.

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St Hilda’s College

Tread Sculptures; Tim Read Active 2010s-present in Bend of Islands, Victoria.

Elsie, 2022 Recycled steel and Japanese glass Provenance: Acquired by the Student Council in commemoration of Brenda Holt’s retirement from St Hilda's

In recognition of Principal Brenda Holt’s retirement from St Hilda’s, the Student Council acquired this work as a lasting tribute to Holt’s service to the college community. This work was unveiled at a farewell dinner held in Holt’s honour, along with a pair of bee earrings that reflected her nickname, “Brenda Bee”. The students specifically sought out a work that could be displayed outdoors that would enhance college life, just as Holt had done in her 5 years as Principal. Alumn and 2022 Student Club President Zara Williams had been instrumental in acquiring this work, and offered the following reflection on Holt’s tenure, and the work that commemorated it:

“Oriental” Armoire Maker unknown, early 20th century Cedar Provenance: Presented to the College by the Anderson/Taylor family in the 1960s.

This 20th century armoire came from the family of J Ringland Anderson, and was donated by the family in recognition of Mary Anderson’s (nee McComas) role in establishing the College in its early years. The armoire was most likely acquired by Ringland and Mary on their many travels through Asia, and is likely Chinese in origin. With the assistance of Mary’s grandchildren, the armoire was restored in 2004.

“I truly cannot imagine being at Hilda’s without Brenda, she took such great pride in us and care in looking after us. I hope Elsie brings some of the joy we all felt around Brenda to the college and that she looks back on her time with us, as turbulent as it may have been - COVID was a massive spanner in the works for us all - as fondly as her students do.”

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Leonard French Born Brunswick, Victoria, 8 October 1928; died Melbourne, 10 January 2017.

Library window, 1965 Stained glass

Hans Knorr Born Bamberg, Germany, 1915; died Myrtleford, Victoria, 1988.

Title unknown, 1978 Stone Provenance: Commissioned by the College in 1978 with the support of a College parent

Born in Germany, Knorr began working as a sculptor and cabinet maker in Victoria following his internment. Knorr lived and worked primarily in the Dandenongs, creating sculptures using wood, stone, and bronze and other mixed media. Achieving moderate success in his creative career, Knorr ran his own gallery in Emerald for a time, with his own works held in the collections of Gippsland, Wangaratta, and Geelong Galleries.

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Provenance: Commissioned by the College with the support of Mrs Prue Myer, in memory of Douglas Boyd

Born in the then working-class suburb of Brunswick, French primarily worked as a signwriter and painter. French is more well-known for his stained-glass works, with his first work in the medium being the Great Hall ceiling in the National Gallery of Australia. While denying any association with religion personally, his artwork was deeply connected to spirituality, once claiming that “all art is religious”. References to religion are frequent in French’s work and can be seen in this window, as depicted in the fish at the lower pane and multiple crosses.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Lorna Marion Waller Born Auckland, New Zealand, 1912; died Victoria, Australia, 1997.

St Hilda mosaic, 1964 Tesserae (Venetian glass enamel) Provenance: Presented to the College by the artist in 1964 in memory of Jessie Madsen

Facing the Whitby Stone at the main entrance stands a mosaic in St Hilda’s likeness, constructed by Lorna Marion Waller. Waller was more known contemporarily for her work as assistant to her famous husband, Napier Waller, on his large-scale works that populated the City of Melbourne. Lorna was a close friend of architect Jessie Madsen, a figure that was central to St Hilda’s beginnings. Upon Madsen’s passing, Waller donated this work to the college in her memory, with the work being unveiled at the official opening of the college. A plaque acknowledging both Lorna’s work and Madsen’s legacy sits at the base of the work.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Chapel The Chapel-Common room block was a later addition to the college, opening in term three of 1968. This addition was long awaited by both students, who needed the additional space, and council members, who felt these spaces were integral to their community-building effort. Several council members were personally committed to this effort, and made significant donations to the building and furnishing of the chapel. The Chapel then became an important gathering space for students and alumni, with many services, memorials and weddings held over the years.

While this space is no longer officially a consecrated Chapel, the Auditorium still functions as a significant space of meeting for the Hilda’s community, with orientation, workshops and musical rehearsals often taking place here.

Communion Chalice and Paten maker unknown c. 1960s Sterling silver with gold plating Stamp on chalice base: “ALBION” Inscription on paten: “In Memory of My Parents D.A.G & J.S. Grierson, Lorna Osborn” Provenance: Presented to the College by Lorna Osborn and Joseph Stanley Grierson in 1968

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Geoffrey Gordon Born c. 1936 Candlesticks, 1969 Sterling silver candlesticks on walnut base Provenance: Presented to the College by Col. Aubrey Gibson in 1969

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Schulim Krimper

Oberammergau Carving

Born Bukovina, Romania, 28 July 1893; died St Kilda, Melbourne, 18 August 1971.

maker unknown

Communion table, 1969 Wood Provenance: Commissioned by the College with the support of Jean Roberts in 1969.

Chapel lectern, 1969 Wood Provenance: Commissioned by the College with the support of Jean Roberts in 1969.

Krimper’s woodworking craft began at a very young age, having first apprenticed in his native Germany at 12 years old. When Krimper arrived in Australia as a refugee following the outbreak of WWII his skills as a cabinet maker were already well established. In Melbourne he was regarded as the premier craftsman of modern high quality furniture during the 50s and 60s. His mastery of timbers was held in the same esteem for his woodworking as fine artists and sculptors, with a number of his projects held in the National Gallery of Victoria.

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Provenance: Presented to the College by Una Porter in 1969

This carving comes from Oberammergau in Bavaria, Germany. Oberammergau has a long tradition of woodcarving, and is home to the state’s woodcarving school. Additionally the town is known for its trompe l’oeil style frescoes that adorn the many buildings and homes in the area, often depicting religious scenes or those from mythology or fairy tales.

This particular piece was once owned by Una Porter, and was displayed in a chapel she erected in her parents' memory on her Olinda property. When the chapel was destroyed in a bushfire, Porter chose to donate the carving to the college, where it was installed in Krimper’s communion table commission.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Ordination Plate maker unknown, 1968 Sterling silver Inscription centre: “Ordination May 26, 1968” Provenance: Presented to the College by Dr Brian James in 1997 upon his retirement

This plate was awarded to Doc James upon his ordination in the US, and was gifted to the college upon his retirement as Principal.

Chapel Cross maker unknown, c. 1980s Wood Provenance: Possibly commissioned by the College in the 1980s.

Ronald Sharp Born Kogarah, Sydney, 8 August 1929; died Sydney, 21 July 2021.

Chapel Organ, 1961-4 Provenance: Acquired by the College with the support of Lorna Lloyd Green in 1971.

Sharp’s output of organs was small in size, only 17 throughout his 30-year career. While small in output, Sharp’s work was certainly significant, having built organs for the Sydney Opera House, ABC Ultimo and Perth Concert Hall.

This organ was originally housed in the Our Lady of Consolation Home, run by the Franciscan Missionaries of Mary. Following the refurbishment and expansion of accommodation at the Home in the 1960s, St Hilda’s acquired the organ with the assistance of Lorna Lloyd Green.

Since arriving at St Hilda’s, the Sharp has been the perfect accompaniment to a number of college events over the years, most notably a recorded performance by musician Sergio de Pieri entitled Musica Antiqua.

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Created for Communitas The following works were created by students and friends of the College and have since become part of the St Hilda’s art collection. It is in this part of the collection where the creed of Communitas is more clearly seen; with works created for the College, to represent the College, as seen by the community that lived within it.

A number of works in this section of the Collection were created by 2021 alumni Mali Gordon, amidst the Covid-19 lockdowns. She offered this reflection on her work and artistic process in this excerpt of the 2020-2021 Chronicle: Mali moved to Hilda’s in 2020, and studies Graphic Design and Art History at the University of Melbourne. In her second year, Mali was elected as the GC Arts Convenor. In this role, she aimed to start a culture where the fine arts are valued, and where people who may have had less exporsure to art could appreciate it. ...It was with this in mind that she saw creating a mural for the Hilda’s community as a perfect starting point.

“When I think of College, I thInk of dancing with everyone and having a good time. I wanted to encapsulate that feeling into the mural.”

Mali Gordon Born 2001, St Hilda’s resident 2020-21 Music Room Mural, 2021 Provenance: Commissioned by the College in 2021

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C r e at i n g c o m m u n i ta s

St Hilda’s College

Mali Gordon Born 2001, St Hilda’s resident 2020-21 Winter Break, 2021 Print on paper Signed lower right: “M.C. Gordon 2021” print no. 9/20 Provenance: Commissioned by the College in 2021

Cécile Plaà St Hilda's Senior Common Room President 2021 Still Life with Vegemite, 2020 Oil on canvas Signed lower right: “CP” Provenance: Commissioned by the College in 2020

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C r e at i n g c o m m u n i ta s

Daniel Butler St Hilda’s resident 2016 The Saint Hilda Flower, 2016 Fine liner on paper Provenance: Presented to the College by the artist in 2016

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St Hilda’s College

Mali Gordon

Mali Gordon

Born 2001, St Hilda’s resident 2020-21

Born 2001, St Hilda’s resident 2020-21

untitled (Monstera), 2021

untitled (Syngonium), 2021

Watercolour on paper Signed lower right: “M. Gordon 2021”

Watercolour on paper Signed lower right: “M. Gordon 2021”

Provenance: Commissioned by the College in 2021

Provenance: Commissioned by the College in 2021

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C r e at i n g c o m m u n i ta s

Mali Gordon Born 2001, St Hilda’s resident 2020-21 untitled (Orchid), 2021 Watercolour on paper Signed lower right: “M. Gordon 2021” Provenance: Commissioned by the College in 2021

St Hilda’s College

Tara Tiffin St Hilda’s resident 2024 A Spring Afternoon at Hilda’s, 2024 Watercolour on paper Signed lower right: “Tara Tiffin” Provenance: Presented to the College by the artist in 2024

This work entered the collection as the winner of the 2024 Art Prize. The artist, student Tara Tiffin, offers the following reflection: “This piece was inspired by seeing St Hilda’s enjoy the sunny days brought by the onset of Spirng.

Under the new growth on the trees, many people are shown basking in the afternoon sun on the Front Quad lawn while reading, sleeping and studying with friends. I wanted to encapsulate the relaxed, friendly and Communitas-centred atmosphere of St Hilda’s by capturing this beautiful moment in time.”

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Indigenous

St Hilda’s College

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his series of works form the college’s Indigenous Collection, as we pay

tribute to the Traditional Owners of the site where St Hilda’s now stands, which began its long history as traditional birthing lands for the Wurundjeri people.

This chapter of the collection began during Brenda Holt’s tenure as principal, who sought to honour the Traditional Owners as part of the College’s wider Reconciliation effort. The first acquisitions of Indigenous art are notably created by Indigenous women, in recognition of the College’s site as a traditional space for women as birthing lands. Holt saw these acquisitions as an opportunity to educate the residents of the College, and spark conversations around the history of Indigenous Australia and what collectively we must do in the future to honour and make reparations for.

Many of these works are on display in the Communitas lounge, a space for students to come together and connect, and may be inspired by the imagery on its walls.

Daisy Kemarre Moss Born Alyawarre Country, Northern Territory, 1948 My Mother’s Country, “Kngwarraye”, date unknown Acrylic on linen Provenance: Acquired by the College in 2020

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St Hilda’s College

Kathy Napangardi Bagot Born Yuendumu Country, Northern Territory, 1960s (Walpiri) Ngapa Jukurrpa (Water Dreaming) - Puyurru, 2021 Acrylic on linen Inscription verso: “Kathy Napangardi Bagot Warlukurlangu Artists 76 x 61 cm 1749/22” Provenance: Acquired by the College in 2022

Pauline Nampjinpa Singleton Born Yuendumu Country, Northern Territory, 1980 unknown (possible: Yankirri Jukurrpa (Emu Dreaming), 2022 Acrylic on linen Inscription verso: “Pauline Nampjinpa Singelton Warlukurlangu Artists 122 x 71 cm 975/22” Provenance: Acquired by the College in 2022

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St Hilda’s College

Katie Bugden Born Bundjalung Country (Kamilaroi) untitled, 2021 Acrylic on canvas Provenance: Commissioned by the College in 2021

This work was commissioned by the College with the assistance of Arts Convenor Mali Gordon and Brenda Holt in 2021. For this commission, Gordon and Holt sought out an artist that was Indigenous and based in Naarm (Melbourne). Bugden, the artist, was commissioned to create a work that responded to the Hilda’s creed of “Communitas”.

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hese works were donated to the College by alumni Robyn Bradbury, who offers the following reflection:

“My first major position [working in the Kimberley] was to set up psychological services in the region as there were none at that stage.

In order to do this I needed to travel throughout the region and meet people. As a result of this experience I became acquainted with the various styles of each region - divided into East and West Kimberley but with many communities, each with their own language and identity.

During this time and subsequently, I got to know many people and from time to time bought paintings from individuals if I could.

Each of the paintings in this collection represents an aspect of identity which struck me at the time - something ineffable about what was being expressed. I’m not an expert on art - the appeal was entirely personal.

The artists whose paintings I acquired mostly were people from remote communities and many of them had little or no formal education. The painting tells an aspect of their story.”

Margaret Wungundin Born Wilinggin Country, West Kimberley, 1960s (Ngaryinyin) Stolen Generations, date unknown Acrylic on canvas Provenance: Presented to the College by Robyn Bradbury in 2022

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St Hilda’s College

Troy Polly Born Martu Country

Andrea Pindan

Area 33- Kunawarritji Country, date unknown

Born Looma Country, West Kimberley, 1972 (Wirnpa)

Acrylic on linen

untitled, date unknown signed verso: “Andrea Pindan”

Provenance: Presented to the College by Robyn Bradbury in 2022

Acrylic on canvas Provenance: Presented to the College by Robyn Bradbury in 2022

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St Hilda’s College

Special Thanks

I would like to express my deepest gratitude to Kate Abraham, Carly Damen, Carol Briggs, Elizabeth Stevens, and Annika Rasmussen for the time, advice, and labour they have given to this project.

I would also like to extend my thanks to Suzanne Spunner and Fiona Salmon for providing their support and expertise.

I am exceedingly grateful to Brenda Holt, Barbara Green and Brian James for their thoughtful conversation and memories they happily shared.

Lastly, this project would not have been possible without the generosity and enthusiasm of the St Hilda’s community, which I have had the pleasure of witnessing through endless moments of kindness. These kindnesses have spanned the simple act of replying to an email, imparting a story, or donating an artwork. Together this community has been a constant source of inspiration. So thank you.

Pascalle Bailey, 2024.

Margaret Wungundin Born Wilinggin Country, West Kimberley, 1960s (Ngaryinyin) Prisoner, date unknown Acrylic on canvas Provenance: Presented to the College by Robyn Bradbury in 2022

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